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Key with Final Cut Pro

There are two different methods used for keying: chroma keying and luma keying. Chroma keying is a method of keying on a particular hue of color. Although any color can be keyed on, the colors most frequently used for chroma keying are blue and green. Specific hues of blue and green with particular levels of saturation have been developed that provide the best results, and different companies have created commercially available paints, fabrics, and papers that use these colors. The color you use—blue or green—depends largely on the color of your foreground subject. If you’re trying to create a key around a blue car, you probably want to use green as your background. Another advantage of using green, when possible, is that video formats generally preserve more information in the green component of the signal, resulting in slightly better keys. Luma keying is based on a particular range of luminance. Black is usually used, but you can also key on white. While keying out a white or black background may be more convenient in certain circumstances, it may be harder to correctly isolate your foreground subject because of shadows and highlights, which may have black or white  values close to the luma range you’re keying out.
 

Chroma Keyer Allows you to create a key using any range of color you want, including (but not limited to) the usual blue and green. You can also fine-tune your composite by adjusting the color value, saturation, and luminance ranges used to define your key, together or separately. For example, if you only want to perform a luma key, you can disable color and saturation. Even when performing a color key, you’ll get superior results by manipulating the Color Range and Saturation controls separately. Color Key Keys on any color in a clip. Color controls allow you to select a color from your clip as the specified key color. Sometimes referred to as chroma key.


Color Smoothing - 4:1:1
Color Smoothing - 4:2:2

Improves the quality of chroma keys and reduces diagonal “stair-stepping” that can occur in video clips with areas of high-contrast color. Use 4:1:1 Color Smoothing with NTSC or PAL DV-25 video sources. (The exception is PAL mini-DV/DVCAM, which uses 4:2:0 color sampling.) Use 4:2:2 Color Smoothing for DVCPRO 50, DVCPRO HD, and 8- and 10-bit uncompressed video. To improve the quality of your chroma key, apply the appropriate smoothing filter to the clip you want to chroma key first. As you add additional keying filters, make sure that the Color Smoothing filter remains the first one in the video section of the Filters tab.


Luma Key Similar to a chroma (color) key, except that a luma key creates a matte based on the brightest or darkest areas of an image. Keying out a luminance value works best when your clip has a large discrepancy in exposure between the bright or dark areas in the frame that you want to key out, and the foreground images you want to preserve. A View pop-up menu allows you to look at the source of the clip (with no key applied), the matte created by the filter, the final matted image, or a special composite of the source, matte, and final image for reference. A Key Mode pop-up menu allows you to specify whether this filter keys out brighter, darker, similar, or dissimilar areas of the image. A Matte pop-up menu lets you create either alpha channel information for that clip, or a high-contrast matte image applied to the color channels of your clip, based on the matte created by this filter.

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Home  / Product Listing  /  Home Editor /  Scrapbook Creator /  Events Editor  /  Wedding Editor  /  How to Order
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